on the staircase, hoping to catch him for a moment as he hurried out to the café. Within his study, into which the daring Paulsen occasionally ventured, Ibsen, we are to believe, did nothing at all, but “sat bent over the pacific ocean of his own mind, which mirrored for him a world far more fascinating, vast and rich than that which lay spread around him.”[1]
And now the celebrated afternoons at the cafés had begun. In Rome Ibsen had his favorite table, and he would sit obliquely facing a mirror in which, half hidden by a newspaper and by the glitter of his gold spectacles, he could command a sight of the whole restaurant, and especially of the door into the street. Every one who entered, every couple that conversed, every movement of the scene, gave something to those untiring eyes. The newspaper and the café mirror—these were the books which, for the future, Ibsen was almost exclusively to study; and out of the gestures of a pair of friends at a table, out of a paragraph in a newspaper, even out of the terms of an advertisement, he could build up a drama. Incessant observation of real life, incessant capture of unaffected, unconsidered phrases, actual living experience leaping in his hands like a captive wild animal, this was now the substance from
- ↑ Samliv med Ibsen, 1906, p. 30.
